| Apocalypse |
“unveiling what is hidden” - according to this etymology this work links the sense of life and work of the artist: going beyond appearances. |
| Circus |
paradoxical in its joining of opposites, laughter and sadness, lightness and danger - this universe had always attracted Mennessons who saw in it, the image of life. |
| Humour |
throughout his life and in his works, this was an attitude that allowed Mennessons to escape with style. |
| Music |
existing as time goes by - it was for Mennessons both happiness and a challenge: to capture its movement on a fixed surface without freezing it. |
| Nature |
as a city-dweller, nature for Mennessons was a necessity, a whole in which he felt part of, it is exuberant and civilised, beyond representation. |
| Numbers |
they became for Mennessons, with the passing of time, the material of choice because of their infinite possibilities and variations and the control of freedom they offered him. |
| Self-portrait |
figurative or abstract, mixed with landscapes or tinted with humour, this painter’s mirror disappeared as numbers took first place. |
| Spirituality |
if Mennessons was engaged in a painting, it was there he saw the only way to find the “absolute” and this was what brought him to exploring various spiritualities; to discover the spirit that animated the human clay. |
| Sport |
Mennessons, himself sporty, appreciated the demands of overcoming limits and the world of movement in sport. |
| Voyages |
journeying through France, Europe and the New World the key element for Mennessons was to retain his sense of astonishment in discovery, the openness of others, internal amazement.
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